30 years is a long time for 2 people from different corners of the
world to come full circle and meet again. Old time buddies K2 (Kimihide Kusafuka) and GX Jupitter-Larsen (The Haters/Survival Research Laboratories)
are both presented together on this split CD release after their paths
first crossed in the 1980’s when they were actively involved in the
underground populist artistic movement of mail art and homemade audio
tape trading. In 1999, they met once again in Kyoto, Japan where they
performed together on stage dressed up in Lucha Libre wrestling masks.
This show also saw GX rigged-up in a championship wrestling belt that
had been specially reconstructed to generate pure harsh noise through a
built in microphone and distortion pedal. In many ways, this release
presents a significant homecoming of sorts, where 2 old friends cross
paths once more to showcase their unique styles of sonic mayhem
together.

K2, also widely known in the Japanoise/Harsh Noise community as the
“King of Metal Junk Noise” works with an acoustic piano, e-violin, MTR,
Monotron and other analogue electronics. In the three tracks that last
more than 30 minutes, K2 pushes the sound barriers through a pent-up
emotional rollercoaster ride of hi-frequency screeches, jarring metallic
creaks and blasting shrills that tests the limits of aural thresholds.
In it’s entirety, rhythmic tempo is constantly kept high in pure sonic
abstraction. The track titles reflect strongly upon the sorry state of
the world we live in; one that is full of chaos and desecration brought
about by mindless environmental and social contamination.

‘Sound of the Polywave‘ is the direct translation of the title ‘Bunyi Tentang Polywave‘
in the Malay language that GX uses for his 20 minute long track. The
Polywave, which is a graphic synthesizer specially designed to create
sounds through the drawing of waveforms on a screen has been the subject
of interest of GX for some time now. The track is very much drone-like,
almost sounding like the slamming of doors looped repetitively to
create a hypnotic trance inducing rhythm. One can draw parallels to the
live performance of The Haters, where sounds generated from the
incessant grind and abrasive rubbing of amplified suitcases took
centerstage during the many performances and recordings. This activity
goes on and on until the suitcases finally break apart, the frictional
rubs and slams soften, signifying the eventual destination of
destruction.